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Transantiquity
TransAntiquity TransAntiquity explores transgender practices, in particular cross-dressing, and their literary and figurative representations in antiquity. It offers a ground-breaking study of cross-dressing, both the social practice and its conceptualization, and its interaction with normative prescriptions on gender and sexuality in the ancient Mediterranean world. Special attention is paid to the reactions of the societies of the time, the impact transgender practices had on individuals’ symbolic and social capital, as well as the reactions of institutionalized power and the juridical systems. The variety of subjects and approaches demonstrates just how complex and widespread “transgender dynamics” were in antiquity. Domitilla Campanile (PhD 1992) is Associate Professor of Roman History at the University of Pisa, Italy. Filippo Carlà-Uhink is Lecturer in Classics and Ancient History at the University of Exeter, UK. After studying in Turin and Udine, he worked as a lecturer at the University of Heidelberg, Germany, and as Assistant Professor for Cultural History of Antiquity at the University of Mainz, Germany. Margherita Facella is Associate Professor of Greek History at the University of Pisa, Italy. She was Visiting Associate Professor at Northwestern University, USA, and a Research Fellow of the Alexander von Humboldt Foundation at the University of Münster, Germany. Routledge monographs in classical studies Menander in Contexts Athens Transformed, 404–262 BC Edited by Alan H. Sommerstein From popular sovereignty to the dominion -
2 the Assyrian Empire, the Conquest of Israel, and the Colonization of Judah 37 I
ISRAEL AND EMPIRE ii ISRAEL AND EMPIRE A Postcolonial History of Israel and Early Judaism Leo G. Perdue and Warren Carter Edited by Coleman A. Baker LONDON • NEW DELHI • NEW YORK • SYDNEY 1 Bloomsbury T&T Clark An imprint of Bloomsbury Publishing Plc Imprint previously known as T&T Clark 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury, T&T Clark and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2015 © Leo G. Perdue, Warren Carter and Coleman A. Baker, 2015 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Leo G. Perdue, Warren Carter and Coleman A. Baker have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as Authors of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the authors. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-0-56705-409-8 PB: 978-0-56724-328-7 ePDF: 978-0-56728-051-0 Library of Congress Cataloging-in-Publication Data A catalogue record for this book is available from the British Library. Typeset by Forthcoming Publications (www.forthpub.com) 1 Contents Abbreviations vii Preface ix Introduction: Empires, Colonies, and Postcolonial Interpretation 1 I. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Coins and Medals Including Renaissance and Later Medals from the Collection of Dr Charles Avery and Byzantine Coins from the Estate of Carroll F
Coins and Medals including Renaissance and Later Medals from the Collection of Dr Charles Avery and Byzantine Coins from the Estate of Carroll F. Wales (Part I) To be sold by auction at: Sotheby’s, in the Upper Grosvenor Gallery The Aeolian Hall, Bloomfield Place New Bond Street London W1 Days of Sale: Wednesday 11 and Thursday 12 June 2008 10.00 am and 2.00 pm Public viewing: 45 Maddox Street, London W1S 2PE Friday 6 June 10.00 am to 4.30 pm Monday 9 June 10.00 am to 4.30 pm Tuesday 10 June 10.00 am to 4.30 pm Or by previous appointment. Catalogue no. 31 Price £10 Enquiries: James Morton, Tom Eden, Paul Wood, Jeremy Cheek or Stephen Lloyd Cover illustrations: Lot 465 (front); Lot 1075 (back); Lot 515 (inside front and back covers, all at two-thirds actual size) in association with 45 Maddox Street, London W1S 2PE Tel.: +44 (0)20 7493 5344 Fax: +44 (0)20 7495 6325 Email: [email protected] Website: www.mortonandeden.com This auction is conducted by Morton & Eden Ltd. in accordance with our Conditions of Business printed at the back of this catalogue. All questions and comments relating to the operation of this sale or to its content should be addressed to Morton & Eden Ltd. and not to Sotheby’s. Important Information for Buyers All lots are offered subject to Morton & Eden Ltd.’s Conditions of Business and to reserves. Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. -
Seutonius: Lives of the Twelve Caesars 1
Seutonius: Lives of the Twelve Caesars 1 application on behalf of his friend to the emperor THE LIVES OF THE TWELVE CAESARS Trajan, for a mark of favor, he speaks of him as "a By C. Suetonius Tranquillus most excellent, honorable, and learned man, whom he had the pleasure of entertaining under The Translation of Alexander Thomson, M.D. his own roof, and with whom the nearer he was brought into communion, the more he loved Revised and corrected by T. Forester, Esq., A.M. 1 him." CAIUS JULIUS CAESAR. ................................................. 2 The plan adopted by Suetonius in his Lives of the Twelve Caesars, led him to be more diffuse on OCTAVIUS CAESAR AUGUSTUS. .................................. 38 their personal conduct and habits than on public TIBERIUS NERO CAESAR. ............................................ 98 events. He writes Memoirs rather than History. CAIUS CAESAR CALIGULA. ........................................ 126 He neither dwells on the civil wars which sealed TIBERIUS CLAUDIUS DRUSUS CAESAR. ..................... 146 the fall of the Republic, nor on the military NERO CLAUDIUS CAESAR. ........................................ 165 expeditions which extended the frontiers of the SERGIUS SULPICIUS GALBA. ..................................... 194 empire; nor does he attempt to develop the causes of the great political changes which A. SALVIUS OTHO. .................................................... 201 marked the period of which he treats. AULUS VITELLIUS. ..................................................... 206 When we stop to gaze in a museum or gallery on T. FLAVIUS VESPASIANUS AUGUSTUS. ..................... 212 the antique busts of the Caesars, we perhaps TITUS FLAVIUS VESPASIANUS AUGUSTUS. ............... 222 endeavor to trace in their sculptured TITUS FLAVIUS DOMITIANUS. .................................. 229 physiognomy the characteristics of those princes, who, for good or evil, were in their times masters of the destinies of a large portion of the PREFACE human race. -
On the Roman Frontier1
Rome and the Worlds Beyond Its Frontiers Impact of Empire Roman Empire, c. 200 B.C.–A.D. 476 Edited by Olivier Hekster (Radboud University, Nijmegen, The Netherlands) Editorial Board Lukas de Blois Angelos Chaniotis Ségolène Demougin Olivier Hekster Gerda de Kleijn Luuk de Ligt Elio Lo Cascio Michael Peachin John Rich Christian Witschel VOLUME 21 The titles published in this series are listed at brill.com/imem Rome and the Worlds Beyond Its Frontiers Edited by Daniëlle Slootjes and Michael Peachin LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2016036673 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1572-0500 isbn 978-90-04-32561-6 (hardback) isbn 978-90-04-32675-0 (e-book) Copyright 2016 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
The Rhone Caesar
CORE Metadata, citation and similar papers at core.ac.uk Provided by PORTO Publications Open Repository TOrino ¦ ¡ ¢ £¤¥ ¥§§¥ ¨© The Rhone Caesar G. Corazzi (1) and A.C. Sparavigna (2) (1) Liceo Mariano Buratti, Viterbo (2) DISAT, Politecnico di Torino, Torino On 10 January 49 BC, leading the Legion XIII Gemina, general Julius Caesar crossed the Rubicon River, the boundary between Cisalpine Gaul and Italy proper. This Caesar's military action, forbidden to any army-leading general, began the civil war. During the first period of this war, Caesar and Pompey, the commander of Senatorial forces, are engaged in some indirect tactics that included emersion and organization of their supporters. Both Caesar and Pompey (their profiles in Fig.1) have interest in getting the support of Massilia (Marseille), one of the most important cities of the western Mediterranean basin. Approaching Massilia in April 49, Caesar, who was marching to Spain, finds its gates closed: the town, although claiming its neutrality, is allied with Domitius Ahenobarbus, a Pompeian. Caesar, as he is writing in his Commentarii on the civil war, feels deeply insulted; after this hostile action, he leaves the newly raised XVII, XVIII, and XIX legions, under the command of Gaius Trebonius, to conduct a siege against Massilia. At the same time, he orders the neighboring Arelate (Arles) to prepare twelve warships. Differently from Massilia, people of Arles had already joined Caesar’s leadership. Quickly prepared in thirty days, the warships, under the command of Decimus Brutus, move to Massilia to participate its siege. In the beginning of June 49 BC, Caesar reaches Spain, where the Pompeian legates surrendre. -
A Possible Reconstruction of the Face of Julius Caesar Using a Marble Head from Smyrna Conserved by the Rijksmuseum Van Oudheden in Leiden
A possible reconstruction of the face of Julius Caesar using a marble head from Smyrna conserved by the Rijksmuseum van Oudheden in Leiden Amelia Carolina Sparavigna Politecnico di Torino, Torino, Italy Abstract: On 22 June 2018, the web site of the National Museum of Antiquities in Leiden proposed a possible reconstruction of the face of Julius Caesar. Actually, the Museum has two Caesar’s marble heads. One, which is in poor condition, had been used for the above-mentioned reconstruction announced in June 2018. The other marble head, in good condition, was labelled by the web site of the Museum as from Smyrna. Here we use it for a different reconstruction of Caesar’s face. This Leiden head from Smyrna is very interesting, because it could be considered the proper link between the Tusculum and the Arles portraitures of Caesar. Keywords: Face recognition, 3D rendering, History of art, Caesar’s portraitures, Tusculum bust, Arles bust. This article is based on a discussion written by the author in 26 June 2018, available at DOI: 10.5281/zenodo.1298695 Written in Turin on 17 March 2019. DOI: 10.5281/zenodo.2596462 As we have previously told in [1], on 22 June 2018 an article has been published by the National Museum of Antiquities (Rijksmuseum van Oudheden) in Leiden [2], showing a new 3D reconstruction of Julius Caesar’s head based on a marble bust of the museum. Ref.3 is telling that this 3D reconstruction is "including the bizarre proportions of his [Caesar’s] cranium." To this conclusion given in [3] we answered in [1], telling the following. -
Vratislav Zervan Die Lehnwörter Im Wortschatz Der Spätbyzantinischen Historiographischen Literatur Byzantinisches Archiv
Vratislav Zervan Die Lehnwörter im Wortschatz der spätbyzantinischen historiographischen Literatur Byzantinisches Archiv Begründet von Karl Krumbacher Als Ergänzung zur Byzantinischen Zeitschrift herausgegeben von Albrecht Berger Band 34 Vratislav Zervan Die Lehnwörter im Wortschatz der spätbyzantinischen historiographischen Literatur unter Mitarbeit von Johannes Kramer, Claudia Römer, Michael Metzeltin, Bojana Pavlović und Andrea Massimo Cuomo Veröffentlicht mit der Unterstützung des Austrian Science Fund (FWF): PUB 517-Z25 ISBN 978-3-11-058538-4 e-ISBN (PDF) 978-3-11-058767-8 e-ISBN (EPUB) 978-3-11-058545-2 Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz. Weitere Informationen finden Sie unter http://creativecommons.org/licenses/by/4.0/. Library of Congress Control Number: 2018952435 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2019 Vratislav Zervan, publiziert von Walter de Gruyter GmbH, Berlin/Boston Satz: Meta Systems Publishing & Printservices GmbH, Wustermark Druck und Bindung: CPI books GmbH, Leck www.degruyter.com Vorwort Die vorliegende Studie ist das Resultat der FWF-Projekte P 23912-G19 „Imitation/ Innovation im Wortschatz der spätbyzantinischen historiographischen Literatur“ (Hauptmitarbeiter: Andrea Cuomo) und P 24289 „Die Kirchengeschichte des Nike- phoros Xanthopulos: Chrysostomos bis Phokas“ -
Remilitarising the Byzantine Imperial Image: a Study of Numismatic Evidence and Other Visual Media 1042-1453
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository REMILITARISING THE BYZANTINE IMPERIAL IMAGE: A STUDY OF NUMISMATIC EVIDENCE AND OTHER VISUAL MEDIA 1042-1453 by MICHAEL STEPHEN SAXBY A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre for Byzantine, Ottoman and Modern Greek Studies College of Arts and Law University of Birmingham March 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The messages in the imagery on Byzantine coins, although often neglected by scholars, were a key means of projecting imperial power. Emperors could project power via dress, ceremonial, and displays, but these methods would not have reached all subjects. Byzantine coins had the advantage of reaching all subjects, as the Byzantine economy was fundamentally monetized. Military symbols (figures, dress, and weapons), whose study has been rather overlooked, formed an important part of this imagery. Whilst military symbols disappeared from Byzantine coins in the early eighth century, and were absent for some three centuries, they were reintroduced in the mid-eleventh century and appeared until 1394/5. -
Ancient Coin Reference Guide
Ancient Coin Reference Guide Part One Compiled by Ron Rutkowsky When I first began collecting ancient coins I started to put together a guide which would help me to identify them and to learn more about their history. Over the years this has developed into several notebooks filled with what I felt would be useful information. My plan now is to make all this information available to other collectors of ancient coinage. I cannot claim any credit for this information; it has all come from many sources including the internet. Throughout this reference I use the old era terms of BC (Before Christ) and AD (Anno Domni, year of our Lord) rather than the more politically correct BCE (Before the Christian era) and CE (Christian era). Rome With most collections, there must be a starting point. Mine was with Roman coinage. The history of Rome is a subject that we all learned about in school. From Julius Caesar, Marc Anthony, to Constantine the Great and the fall of the empire in the late 5th century AD. Rome first came into being around the year 753 BC, when it was ruled under noble families that descended from the Etruscans. During those early days, it was ruled by kings. Later the Republic ruled by a Senate headed by a Consul whose term of office was one year replaced the kingdom. The Senate lasted until Julius Caesar took over as a dictator in 47 BC and was murdered on March 15, 44 BC. I will skip over the years until 27 BC when Octavian (Augustus) ended the Republic and the Roman Empire was formed making him the first emperor. -
The Face of Caesar
Facial transformations of ancient portraits: the face of Caesar Amelia Carolina Sparavigna Department of Applied Science and Technology, Politecnico di Torino, Italy Some software solutions used to obtain the facial transformations can help investigating the artistic metamorphosis of the ancient portraits of the same person. An analysis with a freely available software of portraitures of Julius Caesar is proposed, showing his several “morphs”. The software helps enhancing the mood the artist added to a portrait. In image processing, a facial transformation can be used to simulate rejuvenation or aging of faces, and even to produce variations, the morphs, from a face into another, often through the smooth transitions of a metamorphic sequence. However, if we consider the representation of a face in painting, photography or sculpture, here too we can find a sort of morph, in particular when the face expression is the predominant feature of the portraiture. In fact, the intent of a portrait is not only to display the face, but also to show the mood of the person. As a result, as told in [1], for some viewers a portrait is a sort of living being: “Portraits contain images that with bewildering success pretend not to be signs or tokens invented by artists, but rather aim to represent the manner in which their subjects would appear to the viewer in life”. In ancient times, the sculptures in marble or stone and casts in bronze were the means to preserve the likenesses of men of distinction [2]. Portraits on substrates having lesser durability and resistance such as on wood and canvas existed, however they rarely survived, such as some mummy portraits of the Egyptian Ptolemaic Dynasty [3].